SINCERITY OF THE ACTOR BY PROFESSION

It's him. It's a person we've known since childhood: we've seen him on stage as a ruler, lawyer and doctor. It turned out that in life he has the same proud, courageous and noble character as his stage characters. The famous actor and People's Artist Nuraddin Mehdixanli shared his thoughts about the theatre and life with R+.

- What can you say about the state of the theatre? Why have you been dissatisfied with it lately?

- I think that people complaining about it can't find anything else to do or find the theatre as an area which they can attack with impunity and which is unable to protect itself. Or maybe they just have no idea about the theatre and the processes taking place in it? The most amazing thing is that those who haven't been to the theatre for years have begun to speak about it. I'd say that those who claim that the theatre is dead have long been dead themselves, but they just don't know about it. My advice to them is go to the theatre at least to see the hall. And make your own conclusions. Not all of our productions are masterpieces, but among them there're performances that are truly examples of high art.

- Are there specific examples?

- If it's specifically about the Academic National Drama Theatre, in its repertoire you can see works of national, classical and world dramaturgy. For the first time in the 140 years of the existence of the theatre, the performance "Xacalat" won three prizes at international competitions in the 2011-2012 season: "For the best acting" and "For the best performance" at the Slavija Festival in Serbia, as well as "Golden Eyed Angel" in Moldova. However, people who decry the theatre didn't say a word about these awards - in fact, it could have increased its credibility. In addition, recently together with a Turkish film company, a film was made on the subject of Karabakh, where I played the role of a military unit commander. The presentation of the film has already been held. But there isn't a single word about it...

- Why are you always given such "respectable" roles as a "khan", "lawyer" or "doctor"? Is it something associated with your character?

- What thoughts an actor who's able to create this or that character that corresponds to the "material" is able to personify is decided by the director. I think I'm one of those actors, choosing whom directors never regret. At least, I tried to make sure that they don't regret it. I think I succeeded...

- While performing these roles and creating these characters, did you ever think that you should have become a lawyer?

- I'm not attracted to the profession of any of the characters I created. The biggest dream in life was to become an army officer. Fate decreed that I would create this character in art. Naturally, in my life I have friends among doctors and lawyers, and in other areas. Playing these roles, I watch them and learn their personalities and behaviour, using all this while working on a role.

- The characters you play are fighters against lawlessness. What do you personally do to restore justice when you face a similar situation?

- In fact, one of the reasons for my difficult life full of hardships is being irreconcilable with lies, falsehood and injustice. I know that my character played a role in the emergence of many of my problems and inability to achieve much of what I could have achieved. I'm a maximalist. I can't stand liars and two-faced people. I openly express my sympathy with those who hate me, I don't even say hello and avoid those I don't like. I immediately rebuff any injustice regardless of the rank and title. Only faceless people can live quite calmly. Those who are liked by everyone are just as faceless. If someone managed to be good for everyone, then they're a characterless person. The most dangerous people are just like that. After all, a person can have both friends and enemies. It comes from his character. A person must have an adequate response to events happening around them. You're either right or wrong. This is also a style of approach.

- Do you review records that show the characters you've created? Are there cases when you noticed your own mistakes?

- Honestly, I don't like to look at myself. I do so only in rare cases. This occurs most often at the presentation of films where I'm surrounded by friends. But I know that there're people who love to watch their recordings.

- What do you think is the reason for this attitude? Maybe you are afraid to see their shortcomings?

- In life it's very difficult for a person to relive his mistakes again and again. It's the same in art - it's hard when you see your own mistake. I think one time is enough. Next time, you don't do what you can't do. After all, one can't confine himself only to stating his mistakes. They need to be corrected. It may be in order to avoid a greater error.

- Which of your characters did you sympathize with as an actor?

- Last month saw the premiere of a performance prepared based on a work by Ali Amirli "On the other side of the fence". I play the role of an atheist doctor who doesn't accept Allah. However, his wife is a deeply religious person. She prays in a timely manner, wears hijab and fasts. They have a daughter. Father spends all day doing surgery and mother spends her days in prayers. One day they learn about an accident with their daughter. Unable to bear this grief, the doctor fell ill with cancer. I feel sorry for him although up till now I haven't been sympathetic to any of the characters I played. I think in Azerbaijan there're a lot of such families. Religion should bring people happiness and peace, not to generate a split and opposition in society, destroying everything around like in the play I mentioned. I really want all our viewers to see it. 

- What in the opinion of a professional actor and people's artist can deprive an actor of his authority?

- In general, acting and theatrical art are chosen arts that are created by the few select. Representatives of this profession should have a special talent, education, culture, upbringing and intelligence. The founders of this area were members of the elite with a special gift and knowledge. Under Soviet rule, theatrical art was turned into a form of mass culture, although it's not such today. Representatives of this sphere should have particular behaviour and morality, and they must be able to be an example to their people and motherland. An actor should not go to different agencies with his hands outstretched. He shouldn't present himself to the public as a miserable, humble and pleading man. Everyone has their own problems. One has to choose either spirituality or needs. The place of an actor is the theatre and the stage. However, today, to provide for their families, some actors have become toastmasters. I don't think it's something negative and don't blame them. But no matter how great a master you are, the man whom you served as a toastmaster yesterday, fulfilling his every whim, will see you not as an actor, but as a toastmaster tomorrow and on stage... This leads to a decline in the authority of our art. Unfortunately, this is the bitter reality of our life. I appeal to those who say that the theatre is dead and has exhausted itself: maybe instead of waffling on such useless matters, you should do something useful for the theatre? When are you going to write about financial difficulties in theatres and meagre salaries in them or appeal to relevant agencies?

- And are there only the select few in this area today?

- In the recent period, the influx of people who are not related to the theatre into this area has created a lot of problems. Today among us there're people with diplomas of actors and directors, who have no idea about the art of acting or directing, although such people create a circle around themselves who praise them ... Personally, I'm not interested in working with a director who knows less than me. Today's director and actor should be different from yesterday's directors and actors and be more talented. I will do better if I work with those who are smarter than me. No wonder they say that the theatre begins with the wardrobe. In the theatre, even the gatekeeper should be aware of where he works.

Some are sent to the Azerbaijan Drama Theatre from other theatres. I'd like to ask - for what services? In this theatre, there're those who are far better than them. Therefore, it's the interests of the theatre that should prevail rather than those of individuals. In this respect, the Azerbaijani theatre has enough problems. In the theatre, there should be people conversant not only with the problems of the motherland, but also with the history of the world theatre. This should be provided by the management of the theatre through the creation of an artistic council. And it must include not only executives and several critics, but also leading actors who've had their say in the art. Such experience has already taken place in the past, and we need to return to it, because no one can know these processes better than those who work in the theatre. It's then possible to raise the question of pay rise and other problems. Then we'll know who gets money and for what.

- Why do you think our serials are so primitive? Why don't we see professional actors in them?

- The government of Azerbaijan allocated funds for shooting these serials, trying thereby to contribute to the improvement of the financial situation of actors. But whom do we see in these serials? A couple of professional actors. The others have no relation to acting. They're used as cheap "labour force". Inviting a professional actor, you must pay him accordingly. And it's not profitable. It's more profitable to pocket the money allocated by the state. I think these people will have to account for that one day. On the other hand, we have enough actors who are not inferior to actors from Turkey and other countries in professionalism. With serious financial support they're able to do a decent job. But people who are seriously engaged in this work in Azerbaijan are out of work.

- As a master of artistic recitation, do you see the development of this area?

- In this area, we had respected and talented individuals. We can recall Mikayil Mirza, Hasan Abluc and others. Among contemporary actors and actresses we can name Amina Yusifqizi, Lalazar Mustafayeva, Agalar Bayramov, Ilham Asgarov and Azad Sukurov. Artistic recitation is a serious area. It's not enough just to learn a poem by heart here.

Unfortunately, today reciters give way to toastmasters. The art of recitation is oriented to the squares. The late Mikayil Mirza could spend hours reciting poetry and making speeches on the squares. And all listeners gave him a standing ovation. However, attention to this has somewhat weakened. The Ministry of Culture and Tourism holds a republican competition of recitation once a year where I'm a member of the jury. But apparently this is not enough.

- Have you ever had to play in your life?

- No, never. I am as I am. Some people like it, some don't. For me it doesn't matter. All my life I've been like this and I'm not going to change. Why should I pretend? Even on stage I don't play, but live the life of the character. I should note that, unlike others, actors do not hide their play. But there're people who play in life, trying to hide it. In this sense, I believe that those who belong to the acting profession are more sincere than actors in life. At least they do not hide that they're playing.

- And finally, tell us about your future plans.

- A play is being prepared on the basis of Samuel Beckett's play "Krapp's Last Tape" directed by Oruc Izzatoglu. This is a one-man show where I play alone. In addition, I received an invitation to play in Huseyn Cavid's play "Topal Teymur" ("Timur the Lame") staged by Mehriban Alakbarzada. I'm going to play the protagonist - Amir Timur - on stage.